Here's a link to a story I found in a local publication. I tired to copy the text into my post, but kept getting an error when I tried to post. The writer's impression is similar to most everyone else who saw them in '72. I can't vouch for his memory, but he seems pretty certain that 'Dead Flowers' was played at the 2nd Houston show.



[blogs.houstonpress.com]

Many thanks for the read,Crackinup .

Don't know about "Dead Flowers" -wasn't there - but may be you can find some more informations here :

[stoneslib4.homestead.com]

Houston

Sunday, June 25 (2 shows)



With the stunning riffs of Fort Worth’s Sweet Black Angel audio serving as fresh inspiration, I embarked on this research exercise with high hopes of finding press-based evidence of comparably rare song performances at the next Texas venue. After all, the Ladies and Gentlemen cameras rolled in Houston, too, and so presumably the Stones still had that big, “for the record” incentive to unleash a few more tour debuts. Moreover, the Sunday crowds did not get the expected Stevie Wonder performance. Maybe, just maybe, Mick and Keith tried to compensate for the shorter overall show with something special from their suite of freshly-practiced “Dallas rehearsals” rarities. Imagine, if you will, Let It Loose on a Sunday afternoon.



Of course, such speculations would be unnecessary if we had complete Houston tapes or films at our disposal, but we do not yet enjoy such recorded fruits of the STP endeavor. Instead, what the anxious sleuth can find are further riddles and enticements from two leading Stones authors. Oddly, Karnbach himself weighs in with contradictory statements about the Sunday repertoires, first announcing that Dead Flowers “turned up again at the early show in Houston on June 25” (yes!), but then reporting just two pages later that Sunday’s sets reverted back to the “normal” fifteen-song format without any special songs (huh?). Perhaps the second edition of It’s Only Rock ‘N’ Roll will correct these conflicting lines, but in the meantime there is an even more explosive Houston tale in print courtesy of Jagger biographer Christopher Sandford. Consider this arousing passage in his 1993 book:



In Houston Bianca appeared. She arrived theatrically at the hotel in a khaki

suit, hat and walking stick while on stage Jagger bumped, shook, frugged and

shimmied in 110 degree heat. After a merely melodramatic Brown Sugar he went

caterwauling downstage in Bitch, hands flapping, lips pursed, jumpsuit ajar, his

heels skidding on the watery stage. All Down The Line followed, then Richard

singing Happy. Jagger was back and frugging again in Tumbling Dice, strutting

like James Brown, arms pumping, shaking, akimbo, legs braided rather than crossed,

before dropping Brown-like to his knees for Midnight Rambler. Some of the songs

from Exile were not so much seized upon as accepted: Sweet Black Angel, Sweet

Virginia, Jagger’s elaborate introduction cut short by the eruption of Honky Tonk

Women. The song ended with the singer leaning forward and, doglike, extending his

leg. Richard’s and Taylor’s guitars merged into Street Fighting Man, the drums

crashed, the lights flared, Jagger threw roses. The cheering began and increased

in volume. The noise seemed literally to detonate, wave after wave, breaking in a

single drumroll like the sound of cracking bones, Jagger grinning, sweating,

stooping to wink at the eye of the camera recording him (Ladies and Gentlemen, the

Rolling Stones), running downstairs, backslapped, a shrug, another show to prepare

for – and who could do what it was he did?



Between them, Karnbach and Sandford give us references to three unconfirmed rarities in Houston: Dead Flowers, Sweet Black Angel, Honky Tonk Women. Does the local press from 1972 offer any independent verification of these or other non-core songs?



Sadly, the targeted, much-anticipated Houston clippings end up disclosing very little in the way of new song details. Sure, we get more Dorothy Norwood testaments, a written account of the rare “popcorn” shower seen at the close of Ladies and Gentlemen, and the usual “no encores” laments, but the direct song citations themselves are quite standard and fail to confirm any of the tantalizing clues from Karnbach and Sandford. (So much for all of my high hopes for the Houston press.) Nevertheless, to my mind, the four articles in hand do not completely foreclose the possibility of a Fort Worth-style rarity emerging from the next newspaper review or, even better, our first complete 6/25/72 tape. Maybe it will turn out that Houston really did get only the standard tour set and nothing else, but for now I am keeping the playlist door open, hoping for better evidence to emerge.



Finally, note that Sandford published his reference to the live Sweet Black Angel rendition in 1993, some four years before the discovery of the lone Fort Worth audience tape with that very song. So, even if his concert description quoted above actually refers to Fort Worth rather than Houston, he apparently had privileged access to performance documentation beyond the usual Ladies and Gentlemen scenes. Did he view a complete Texas show on film and collect his song references and Jagger visuals from the screening? Or did one of his informants relate this detailed concert portrait? Whatever Sandford’s source, his Mick Jagger: Primitive Cool appears to deserve credit for scooping everyone with the very first public tip to Sweet Black Angel being performed on the 1972 tour.





Of course, such speculations would be unnecessary if we had complete Houston tapes or films at our disposal, but we do not yet enjoy such recorded fruits of the STP endeavor. Instead, what the anxious sleuth can find are further riddles and enticements from two leading Stones authors. Oddly, Karnbach himself weighs in with contradictory statements about the Sunday repertoires, first announcing that Dead Flowers “turned up again at the early show in Houston on June 25” (yes!), but then reporting just two pages later that Sunday’s sets reverted back to the “normal” fifteen-song format without any special songs (huh?). Perhaps the second edition of It’s Only Rock ‘N’ Roll will correct these conflicting lines, but in the meantime there is an even more explosive Houston tale in print courtesy of Jagger biographer Christopher Sandford. Consider this arousing passage in his 1993 book:







I am a Frenchie ,as Mick affectionately called them in the Old Grey Whistle Test in 1977 .